JMGA-NSW is calling for papers for the next conference taking place in Sydney July 2015. Deadline for abstractions has been extended to November 3rd.
check out the conference page for details – www.facebook.com/edgesbordersgaps
JMGA-NSW is calling for papers for the next conference taking place in Sydney July 2015. Deadline for abstractions has been extended to November 3rd.
check out the conference page for details – www.facebook.com/edgesbordersgaps
A kind, anonymous person has nominated us for Kochie’s Business Builders’ $100K Rescue My Site competition in the ‘Local Legend’ category and we need your help to give Studio 20/17 and contemporary jewellery a boost on the digital stage!
Please vote for us at http://www.rescuemysite.com.au/nomination/studio2017-com-au/
and please share on Facebook and through your network, we could REALLY do with a boost!
xx
Bridget and Melanie
A selection of the amazing works created by our Melissa Cameron One Design workshop participants. We loved everyone’s imagination and enthusiasm in tackling the project – what great results!
Studio 20/17 intern Victoria Cleland, interviewed gallery artist Mark Vaarwerk and discussed his ongoing fascination with transforming the plastic detritus of our everyday lives into his beautiful signature jewellery pieces.
The Plastic Alchemist: An Interview with Mark Vaarwerk
Mark Vaarwerk combines cast silver with crayons and polystyrene with pink gold. His process transmutes everyday waste products into individual jewels. Vaarwerk’s choice of materials are the undesirable and the overlooked; plastic bags, polystyrene food boxes, acrylic car and bicycle indicators, computer keys and cigarette filters, all of which Vaarwerk ‘expands’, ‘liquefies’, ‘dissolves’ and ‘extrudes’ to become brooches, bracelets, earrings and necklaces.
However mystical Mark’s method seems, transforming plastics is something he has studied and experimented with consistently in his jewellery making practice, aided by grants from the Australian Council for the Arts. He now runs a workshop titled Transforming Throwaway Plastics, which incorporates some of his techniques and encourages a shift in the perception of ‘waste’, its value and its uses.
Mark was kind enough to take some time out to answer some questions for Studio 20/17, focusing on the development of his unique material practice.
What appeals to you about throwaway plastics as a material source?
There are a few reasons why I enjoy working with throwaway plastics. I like the fact that it is free, and that I can put something to use that is considered rubbish, worthless. So it is a win win. I also enjoy working with materials that may be familiar to people – that even though it has been remade into jewellery I want there to still be a hint or suggestion of its original incarnation. This subtle connection with its earlier life can sometimes suggest a story – set in this everyday world – one that is continuing because of this re-use.
What has been your most interesting ‘material discovery’ since you have been working in this area? Any unexpected outcomes?
Many of my techniques are based on my own experiments with easily available materials. So in a sense my practice depends on these material discoveries and unexpected outcomes. Early work of mine focused on making necklaces from plastic bag string. This began with my learning to spin natural conventional fibers into string, and then I began to experiment with a wider range of easily available materials – and of these the best results came from plastic shopping bags. Similarly the work I am doing currently began with experimenting with different easily available plastics, I was not looking for a specific result – I was simply looking for ways to manipulate a small assortment of materials. From the samples that were the outcome of these experiments I chose the ones that showed the most potential for making new and interesting jewellery.
How do you collect your materials? Do you have industrial contacts or suppliers or is it more haphazard (for example, through friends or neighborhood collections)?
I’m more interested in materials that might be found in a domestic situation than an industrial one. At the moment the materials I am working with come from a bit of scavenging – I often find expanded polystyrene boxes sticking out of wheelie bins or in back laneways behind restaurants and cafés. I might pick scraps of plastic off residential streets – e.g. bits of broken car blinker, headlight and brake light covers. And yes, quite a bit of my materials also come from friends and family who collect it for me rather than throwing it away – wasted pens and printer ink cartridges, broken appliances, and still the occasional plastic shopping bag donated for making string.
You use unusual processes to create your works – expanding, liquefying, dissolving and so on. Can you talk us through one as an example?
Shrinking expanded polystyrene is the process I depend on most at the moment. I would collect a box or two of expanded polystyrene in advance, cut it down into flat pieces, clean it with water and soap and rinse it and let it dry. Say I was making a brooch I would choose the shape – usually a quite simple geometric shape like a circle, and trace it onto the sheet of polystyrene and then cut the shape out. This I usually do with a hot wire cutter. Then I might shrink the shape straight away by placing it in an airtight container with a small open container inside with a small amount of acetone in it. The acetone slowly evaporates and the vapor inside the container reacts with the piece of plastic and it gradually shrinks to maybe half or one third the original size. So the shape needs to be quite big at the start. Generally I colour the plastic in some way – this can be done before or after the shrinking stage for different effects. One coating I commonly apply is acrylic (e.g. broken brake light covers) dissolved in acetone, and once it becomes a syrupy liquid it can be painted onto the polystyrene like paint. Once the shrinking is complete and the container opened and the acetone removed, the shape will be slightly soft and gooey and then will harden into a plastic much denser and harder than the original expanded polystyrene. Then the metal findings can be fixed- e.g. the brooch pin and catch.
What is the biggest piece of polystyrene you have ‘expanded’?
I have occasionally shrunken expanded polystyrene boxes whole – which are sometimes around meter long at the beginning.
How significant has the support from the Australian Arts Council been in your practice?
Funding from Australia council has been quite significant to me and my practice – I have had three Australia council grants since I began my jewellery career. I find that grants are a godsend when you need to make a change of some kind, when you need to do something new to bring back your enthusiasm for making. The luxury of being free to be creative – to have the space or the time or the finances – is not always there but a grant can mean you are suddenly able to address these imbalances. When first starting out grants can be especially valuable as well.
What sort of response do you get from people participating in your Transforming Throwaway Plastics workshop? I imagine that might be very surprised and intrigued?
Yes quite surprised and intrigued. Fortunately I have had lots of positive feedback, but the responses are surprisingly varied. I am always surprised by how different people like to approach the same materials and processes in such different ways. Which is excellent because after a workshop there are always such a diversity of outcomes. But the one response that I always get from a lot of different participants (and which I find very encouraging) is that after the workshop the way they see these things they usually just throwaway is changed forever.
Before I realised your recent solo show was titled Alchemy, I thought of you as a ‘plastic alchemist’. Why do you think alchemy is a word often associated with your jewellery?
I think because I push myself to find ways to transform in unexpected ways materials that are often taken totally for granted.
How did it feel for your work to be included in Unexpected Pleasures, the huge contemporary jewellery exhibition curated by Dr. Susan Cohn, alongside works made of conventional, ‘precious’ materials?
Excellent!
By creating something wearable (and beautiful) out of everyday ‘rubbish’ it extends our understanding of ‘waste’. Has your practice changed your perception of waste? Do you think your work helps to develop an environmental or societal awareness? Is this important to you?
Yes to all of these! To put it simply, I guess I try to make work that I enjoy making and am proud to see being worn. I try to make in a way that is meaningful and rewarding to me. I am happy to see a variety of responses to my work, and expect the meanings read into my work will be different for different people. If people are curious about my work I will focus on talking to them about the materials I have used, where I might have found them and how I made them into what they see in front of them rather than the meanings behind the piece.
Do you think you will continue to work with these materials in the future? Is there more experimenting to be done or new materials to play with?
At the moment I feel like I will be sticking with expanded polystyrene for a little longer. There are so many ways I could experiment with even just this one main material and technique, so I am not planning any big changes for now. In the long run there will be need for change and variety, and there will always be new materials that I will be able to adopt, and with them new techniques. But in all cases there will definitely be lots more experimentation!
Finally, I found a link to Mark Vaarwerk Homework t-shirts and stickers online. They are really amazing! Are you planning anymore?
Thanks! They were something I did just for a little fun. I never sold very many because I am the worst at self-promotion! So, I doubt that I will ever get around to doing more…
Check out our website for some of Mark’s work and pop in to the gallery to see our full range.
Sydney College of the Arts Masterclass
Jewellery From Sublimation Printed Metal and Plastic, with Anna Davern
Saturday 5th July 2014, 9.30am – 5.00pm
Workshop fee: $176 (plus $45 for materials)
Earlybird fee: $143 (plus $45 for materials) for bookings before June 7.
Jewellery From Sublimation Printed Metal and Plastic
Sublimation printing is a very exciting and simple technique of transferring images onto metal and plastic using heat. In this class, electronic files of images and photos will be printed and then transferred to a variety of plastic coated sheets of metal. A variety of techniques will be taught to then create items of jewellery from the printed material focusing on cold joining techniques.
Students will be shown how to reproduce the process in their own studios without the use of specialised equipment.
About Anna Davern:
Anna Davern is a contemporary jeweller whose practice straddles the visual arts, jewellery, fashion and education. She is a founding member of Northcity4, an artist run initiative that supports the Australian contemporary jewellery community by providing workshop space, education programs and resources to promote sustainable work practices.
Anna exhibits regularly and has been represented in numerous Australian and international group exhibitions. She completed her undergraduate degree in Jewellery and Object Design at Sydney College of the arts and she also holds a Masters degree from RMIT. She is the recipient of numerous grants and awards and has participated in residencies in Sydney and Tallinn, Estonia.
Anna teaches at Northcity4 and has taught and lectured at NMIT, RMIT, Box Hill Institute, Sydney College of the Arts and the Estonian Academy of Art.
Level:This class is suitable for experienced makers as well as non-makers. No jewellery experience required.
Materials and tools:
A $45 material fee will be payable to the tutor on the day. Students will receive a pack of sheet metal and pre-cut metal shapes and a variety of images to print. Extra materials will be available to purchase (cost between $2 and $15 per piece).
Some hand tools will be required including a piercing saw, sawblades, a half round hand file, scissors, burnisher.
Further details will be provided on enrolment.
Enquiries: karin.findeis@sydney.edu.au
sydney.edu.au/sca/masterclass
Google synthetic diamonds...
The results are predominately synthetic diamond sellers, followed by articles detailing the laboratory process, a ‘how to’ on creating your own man-made diamond using a microwave to create ‘graphite plasma’[1] and a disgruntled ex-fiancé who asks ‘was it fair she dumped me because I gave her a fake diamond’[2]? It’s a jumble of information that fails to illuminate the numerous benefits of lab-grown diamonds and gems…
Synthetic diamonds, also known as cultured or lab-grown diamonds are safe, sustainable man-made gems. Laboratory conditions replicate the heat and pressure of the earth’s natural diamond-growing environment. The result is a real diamond, chemically, physically and visually identical to natural, mined diamonds but without the environmental, social and financial baggage of the diamond mining industry.
Synthetic diamonds are affordable, sustainable, 100% conflict free and come with a certificate to prove it. In addition, lab-grown gemstones including rubies, sapphires, emeralds and alexandrite, are also created using similar high-pressure laboratory processes, gems identical to their natural counterparts. Synthetic diamonds and gems provide an excellent alternative when looking for something special.
Don’t be fooled by Google.
Note: the image above is of work by Saori Kita. It isn’t made with synthetic gemstones. We just put it on the blog because we love it!
[1] http://www.instructables.com/id/How-to-Make-a-Synthetic-Diamond
This just popped into our inbox……..
Following the success and interest in the first and second editions of the book New
Rings: 500+ Designs from Around the World and the first edition of New Earings: 500+
Designs from Around the World, Nicolas Estrada would like to invite you to submit work for selection
as to be included in the third book of the collection, titled New Necklaces: 500+
Designs from Around the World.
April already! We had a lot of fun with our Glorious Food exhibition for ArtMonth in March.
Bridget’s Lipoma Lemon (miracle-gro) brooch provided delicious inspiration for a lemon tart dessert created by Luke Mangan for the Visual Feasts dinner, a collaboration between the 2 Danks St galleries and the renowned chef.
Continuing her long interest in food related art, during ArtMonth Bridget exhibited new works of electroformed and gold plated food, Eat Me!, as well as her fabulous oversized rice neckpiece food for thought: Cultured (bleached). Her asparagus pendants were a great favourite and drew much attention.
A special thank you to Mel Young and all who attended her ArtMonth talk. We love Mel’s colourful works and are always amazed by the diversity of her quirky pieces. Her Apricot Delight neckpiece drew our favourite comment of the month “They’re like fuzzy little bottoms!”